Class Assignments

It seems as though the growth of neighborhood farmer’s markets is a trend that’s here to stay. With more D.C. residents visiting the weekly markets, or signing up for a Community Supported Agriculture (CSA) share, those of us who don’t have the benefit of growing our own fresh produce and making our own unprocessed food now have greater access to local, farm fresh goods.

Arganica Farm Club makes it even easier to support local and small-scale farmers and producers: they deliver.

Watch the video to learn how they got started and how it helps connect urban dwellers to the rural areas around them.

Farm Fresh Food Pipeline from Amy Buff on Vimeo.

Take a walk down H Street Northeast these days and it’s definitely not the same street it was a few years ago.

The H Street corridor, otherwise knows as “The Atlas District,” is in the process of a revitalization. In 2002, D.C.’s Office of Planning got serious about starting a restoration effort for the historically relevant H Street area. After a series of community meetings, the H Street NE Strategic Development Plan was created. The plan divided H Street into 3 districts: the Urban Living district (between 2nd and 7th Streets NE), the Central Retail District (between 7th and 12th Streets NE), and the Arts and Entertainment District (between 12th and 15th Streets NE).

While there are still a fair share of locked storefronts, new bars and restaurants have planted their roots in the neighborhood. Plans are in place to rennovate and fill the empty buildings.

In its heydey, H Street was a bustling commercial area for the city. Sears, Roebuck & Company opened its first store in the Washington, D.C. metropolitan area in 1929 in the neighborhood. Eleven years later, H Street was one of the few integrated shopping areas in D.C.

The area changed on April 4, 1968 when Dr. Martin Luther King Jr. was assassinated. Riots swept the country’s inner-city neighborhoods and for five days the H Street corridor was the scene of looting, arson, and vandalism. Many of the businesses destroyed by the riots never reopened.

In the 1980s, the use of crack-cocaine exploded in cities across the nation, hitting D.C. especially hard. By that time H Street had become neglected by the city’s politicians and residents, providing fertile ground for gang activity. “If you talk to anyone on H Street, especially the older residents, and you say ‘H Street gang crew,’ they tell you they were notorious. H Street was their turf,” said Eric Lewis, who lived in the neighborhood from 2000 to 2007 as the revitalization project got started.

When the chatter got louder in 2000 about the city putting resources into the H Street area, some long-time residents grew concerned. In the late 1990s the U Street area in Northwest Washington D.C. experienced a similar revitalization. The new development in the U Street neighborhood brought more diversity to the historically African American area, and also dramatically increased housing prices. Higher property values bring along higher taxes, effectively pricing some poorer residents out of the neighborhood. Protections were put in place for H Street residents, especially the elderly.

In August 2005 the first new establishment, Argonaut Tavern, opened on H Street. The Rock n Roll Hotel followed in September 2006 and the Atlas Performing Arts Center officially reopened in November 2006.

Today there are several hip bars and restaurants located in between 11th and 14th Streets on H Street. These establishments, such as Sticky Rice, H Street Country Club and The Pug, seem to attract a mostly younger, “hipster” crowd, but walk in on weeknight and you are bound to strike up conversation with a good mix of residents, all of whom will tell you how much they love living in their neighborhood.

Tito Serrano, a young professional who has been renting in the area for two years says, “If I had half a million dollars, I would definitely buy a home here. I love H Street.”

This is the photo story of an evening spent at Northern Virginia Mixed Martial Arts Fitness/Team Lloyd.

The classic striptease performance finds a home in D.C.

The lighting is dim, the stage is small and the townhouse is packed with curious adults. All eyes in the room are fixed on the petite woman with vibrant red hair who is titillatingly twirling the tassels of her sequined pasties glued to her otherwise bare breasts. The faster she jumps, the louder the crowd cheers her on.

The packed townhouse is Palace of Wonders, a bar located in the hipster haven of H St Northeast in Washington, D.C. and commonly referred to as “The Palace.”

The woman with the pasties is L’il Dutch, who prefers her real name not be used. Not all co-workers and family are understanding when they find out their sweet, petite red head is one of D.C.’s most popular burlesque performers.

D.C. is not your average city. The Palace is not your average bar. Burlesque is not your average weekend activity. These factors combined make it interesting that The Palace has managed to make a home for burlesque in D.C., regularly selling out shows to the uptight and career-minded citizenry.

One would think the all work and no play reputation of folks in D.C. would be unfavorable for the carnival-like burlesque scene. However, the opposite seems to be true. Even uptight DCites need to let loose sometimes, and what better way to satisfy their curiosity than by watching women dance and act in a welcoming environment.

“The point of these shows is to have fun. It’s an opportunity that allows people to misbehave within reason, both audience and performers. We don’t get that in our daily lives, especially in D.C.” L’il Dutch said in an interview.

What is Burlesque?

Burlesque was introduced to the U.S. in 1868 by British performer Lydia Thompson. Thompson and her troupe, the “British Blondes,” began performing for middle class audiences in New York City and enjoyed great success. They took their show filled with parody, variety acts, song and dance and risque costumes across America. In the 20th century, burlesque in America became associated with striptease, a performance style that focuses more on teasing the audience than actual stripping.

A burlesque show isn’t just about women removing their clothes in front of an audience. Most shows have other acts, such as acrobatics, hula hooping, and fire dancing. The burlesque act almost always has an element of comedy, satire, or kitsch in addition to sex appeal. The performer takes the stage fully clothed and in character. The costume comes off piece by piece, worked into a storyline, often until the performer is down to panties and pasties. A good performer brazenly displays confidence and creativity.

Burlesque in D.C.

Lobster Boy, aka Lucas Zarwell, is credited for the burlesque revival in D.C. In 2003, Zarwell developed an interest in the carnival and cabaret scene happening in the UK. It was around that time he met Trixie Little and the Evil Hate Monkey, a popular burlesque duo in Baltimore.

Zarwell went to one of Trixie Little and the Evil Hate Monkey’s shows in Baltimore, liked what he saw and was inspired to dress up as an accordion-playing lobster.

Since a man dressed as a lobster would not draw large crowds on his own, Zarwell began contacting burlesque acts in New York, Philadelphia and Baltimore to come down to D.C. and perform with him. “I’ve always liked sex,” Zarwell said. “But the provocative kind, not the pornographic.” Thus, the Lobster Boy Revue was born.

The first Lobster Boy Revue show was at Chief Ike’s Mambo Room in 2003. The show was a hit and Zarwell produced 4 sold-out shows a year until the end in 2006. The act stop being fun for Zarwell, so he knew his time as Lobster Boy was up. Sadly for his fans, Lobster Boy will not make a comeback. “The time for burlesque has happened here. The vaudeville thing has been played out,” Zarwell said.

As the Lobster Boy Revue was ending, Palace of Wonders was opening its doors. The Palace opened in July 2006 and claims to be the “only dedicated vaudeville stage, museum-of-oddities & full bar in the world,” according to the website. The bar quickly became the place to go in D.C. to experience burlesque each weekend.

The Performers and Community

L’il Dutch began performing burlesque in 2005 and has been producing her own shows, Dutch Oven Burlesque, since 2007. She is a self-described “huge enthusiast of mid-century and tiki cultures,” so the pinup look is a natural style for her. However, her motivation to try burlesque didn’t come until her mother passed away. Both her mother and grandmother, Big Dutch, passed away at younger ages, which got L’il Dutch thinking about what she’d regret not trying. Burlesque, along with bright red hair and tattoos, was the answer.

L’il Dutch and her husband, Gary Gutter (a MC for L’il Dutch’s shows), started going to burlesque shows in Baltimore and met Trixie Little through mutual friends. L’il Dutch and her husband made more friends in the community and it wasn’t long before she was on stage performing. Now L’il Dutch is the de facto burlesque organizer in D.C., helping new local talent get started and bringing performers in from other cities.

One of those new local talents is DD Cupcakes, aka Sherill Anne Gross. DD Cupcakes, named for her ample bosom and love of cupcakes, started going to burlesque shows at The Palace in June with her husband who has an interest in tiki culture and exotica. She decided to take one of Gal Friday’s monthly classes at The Palace.  L’il Dutch was at the class and asked DD Cupcakes if she’d like to perform. She agreed and her debut is set for December 19.

Of course DD Cupcakes is nervous about her debut. But she has enjoyed the support of the community and the confidence burlesque instills. “That is one of the appeals of the scene. You have girls with absolutely smoking bodies, perfect bodies. There are people who are curvier and rounder, or bigger here and bigger there. But that doesn’t detract from anything. They are all amazing. It’s about having what you have and working it,” DD Cupcakes said.

A common discussion point with this community are how supportive they are of each other. “I found it very easy to make friends in the scene. It’s an atmosphere where we can foster growth in one another,” said Elise Dawson of Stereo Vision Photography. Dawson, along with her fiancee Carlo Pizarro, began photographing shows at The Palace in 2007.

“Because there are so few of us, we are really lucky in D.C. that the community is like a family. We would do almost anything for each other,” L’il Dutch said.

The burlesque scene in D.C. has enjoyed a consistent level of popularity since The Palace opened. Though the verdict is still out on whether interest in burlesque has peaked or if people will keep coming back for more. Some in the community think The Palace could use a resurgence, others note the continually packed audiences. “I think it’s growing, and I think there will always be a constant variable about that. Even though D.C. is conservative, you have a great art community. Wherever there is an artistic community, you will have burlesque,” said Maria Adams. Adams, otherwise known as Maria Bella, is a performer and co-founder of Gilded Lily Burlesque, a burlesque troupe that performs primarily in D.C. and Baltimore.

There is a dedicated core of local performers, and as long as Palace of Wonders is open, burlesque will have a home in D.C. “I think D.C. appreciates burlesque. They always come out and are supportive, whether or not they are fully into it or are just looking for the eccentricity and shock value,” L’il Dutch said.

How Shintaido teaches peacebuilding through finding individual peace

Sixteen adults in a semi-circle reach their arms toward imaginary stars. They chant “ooh” and “ahh” in peaceful harmony. Next, they clasp their hands before them, and end the exercise with a minute of meditative silence.

The adults were participants in the “Exploring Peace through Movement – Shintaido movement workshop,” hosted by American University’s International Peace and Conflict Resolution program. The Saturday workshop was led by master Shintaido instructor Haruyoshi F. Ito.

Shintaido is a spiritual martial art based on moving meditation. It focuses on using body movement to deepen the connection one has with their inner self and nature. While it is a martial art, Shintaido does not involve combat.

“The form you make with your body acts like an antennae. You receive the energy from nature and broadcast that energy to the world around you,” said Ito. Through that practice, Shintaido artists believe they can achieve peace in their minds and bodies.

Shintaido practitioners believe the inner peace they have achieved can be shared outwardly through peacebuilding activities in their communities and work. They believe their work as peacemakers is highly connected to their own relationship with peace.

Elli Nagai-Rothe, a graduate student in the university’s program, organized the workshop. Nagai-Rothe has been practicing Shintaido for three years. She started to notice a connection between Shintaido and her studies in peace and conflict resolution.

“In the academic world there is intellectualizing and theorizing of peace and conflict. It’s in our head, not so much in our bodies. Shintaido can connect the two,” said Nagai-Rothe.

The workshop was organized to help participants explore the role of movement and the connection between body and mind. Then to use that connection to expand understanding and gain new insight for peace and conflict resolution. Rather than think of conflict resolution as an external issue to oneself, Nagai-Rothe hoped the participants would come out of the workshop with a more holistic understanding.

In layman’s terms, how is someone supposed to successfully resolve conflict in a community when they don’t have a full understanding of conflict as an individual? That’s what the workshop aimed to explain by introducing peaceful movements of Shintaido to connect the mind with the body and through discussion about how to use that connection in peacebuilding work.

For more information on Shintaido, watch this introductory video.